精选上位词
风格
shock value
简介
2007年葛莱美「最佳舞曲录音」+Teen Choice音乐奖「最佳饶舌艺人」、「最佳饶舌单曲」、「最佳节奏蓝调/嘻哈单曲」、「最佳夏日单曲」 等四座大奖加冕 登上加拿大冠军+英国亚军+美国TOP5 全球销售近两百万张 精装升级双CD版收藏："Give It To Me"一首混音版+"The Way I Are"三首特别舞曲混音版+M.I.A.献声全新单曲"Come Around"+三首完整MV影像 已获得2007年葛莱美「最佳舞曲录音/Sexyback」；一连抱走Teen Choice音乐奖「最佳饶舌艺人」、「最佳饶舌单曲/The Way I Are」、「最佳节奏蓝调/嘻哈单曲/Promiscuous」、「最佳夏日单曲/Promiscuous」 等四座大奖加冕；MTV音乐录像带奖四项提名。Timbaland用他音乐改革创新之理念让才女妮莉费塔朵转型成功、使型男贾斯汀音乐更有深度、活化辣妹团体小野猫更为骚浪声波 Timbaland替流行音乐界架构无限可能的延展性。 长达九年之久拱出第二张完整录音室大作【Shock Value】，登上加拿大冠军+英国亚军+美国Top5，全球销售近两百万张。这张专辑助阵明星一列排开超乎想象的打破对Timbaland之印象，绝对惊喜连连的让人大呼过瘾。首波冠军单曲"Give It To Me"，有妮莉费塔朵与贾斯汀回馈献唱，像极了热辣性感"Promiscuous"二部曲；异国风味浓厚骚劲十足作"Scream"，由小野猫主唱Nicole Scherzinger演出，另外特别介绍幕后超级女创作者，同为2007年秘密R The Way I Are"，占据英国+加拿大金榜冠军+美国季军；接着连三发与摇滚乐团The Hives、She Wants Revenge、Fall Out Boy搭建的"Throw It On Me"、"Time"、"One ，都是聆听Timbaland不可思议之音乐融合变形体；轻快动人的"2 Man Show"，惊喜邀来常青树Elton John钢琴弹奏与演唱，营造福音般迷人声线。如同Timbaland所言，不想乐迷给他贴上既定标签，更要呈现一张耐听多元的专辑，实验性的概念特典，足以挑战同属性才子所不能的过人胆识。这张精装升级双CD版收藏：完全不同原始"Give It To Me"的重唱混音版、"The Way I Are"多达三首特别舞曲混音版、收在2005年入围英国水星奖「年度最佳专辑」，并受嘻哈教母蜜西艾莉特、旷课乐小公主席亚拉等人指名合作对象M.I.A.献声之全新单曲"Come Around"，添入印度宝莱坞异国情调与前卫新潮的街头风格。最后三首完整MV影像同时一并收录。 Shock Value is the second solo studio album, and fifth album overall, by record producer and rapper Timbaland. It is Timbaland's first release on his own imprint, the Interscope Records-distributed Mosley Music Group. Shock Value features a long list of guest artists, among them Fall Out Boy, Justin Timberlake, The Hives, Keri Hilson, Nelly Furtado, Missy Elliott, 50 Cent, Tony Yayo, Dr. Dre, OneRepublic, Elton John, Magoo and Nicole Scherzinger. &Release& is featured in the EA Sports game Madden NFL 08 and &The Way I Are& is also on the soundtrack of NBA Live 08. On April 16, the unreleased song &Laugh at 'Em& was leaked to the Internet. It was originally supposed to be on the album but was not completed in time. It features Jay-Z and Justin Timberlake. The song is now surnamed as the &Give It to Me& remix. Another unreleased track called &I See U&, featuring Attitude and D.O.E., was also leaked to the internet. An instrumental version of the album was released 07/31/2007 on the iTunes Store. The album was supposed to be supported by a Shock Value 2008 Tour. The tour was to begin in Australia and continue to New Zealand, but was postponed and then cancelled because the expected amount that Showtime Touring was to pay Timbaland was unavailable, and the star refused to perform. There had also been many scheduling conflicts with Europe. The tour was cancelled one day before it was to begin. Shock Value received generally mixed reviews from music critics. At Metacritic, which assigns a weighted mean rating out of 100 to reviews from mainstream critics, the album received a weighted mean score of 54, based on 24 reviews, indicating &mixed or average reviews&. The album debuted at #5 on the U.S. Billboard 200, with 138,000 copies sold. It debuted at number ten in the U.K. and on the week of July 22 climbed to number five. The album has since reached number two in the UK and number thirteen in France. The album was certified Platinum in Canada (100,000 units) by the CRIA in August 2007. On the Australian ARIA Albums Chart, Shock Value was certified 3x Platinum with sales of 210,000+ copies. It reached the top of the album chart on the week beginning 12/31/2007. In BBC Radio 1's end of year chart for 2007, Shock Value was the ninth most bought album in the UK. (wiki) ------------------------------------------------------------------------------ by Andy Kellman &2 Man Show,& the epilogue of Timbaland Presents Shock Value, involves 24 men and women. The title refers to Timbaland and Elton John. John, despite being Elton John, doesn't sing on the song, but he does play some loose piano. Most of the vocals are left to Timbaland, who improvises with a nonstop series of directions, comments, and grunts. He participates in some nonchalant call-and-response singing as well. It's a relaxed way to close an exhausting album, and it's also an odd way to utilize Elton John and a 19-person choir. While the song is an extreme example, it does illustrate the inexplicable and intermittently unpredictable nature of an album that would be more accurately titled Timbaland Presents Slight Confusion or Timbaland Presents an Uneven Mess. The reigning producer of R&B and rap since 1996, the year of Ginuwine's &Pony& and Aaliyah's &If Your Girl Only Knew,& Timbaland has amassed piles of ingenious and commercially successful releases. Due to his work on Nelly Furtado's &Promiscuous& and Justin Timberlake's &SexyBack,& two of the least-avoidable pop singles released in 2006, his profile has never been higher. Consequentially, there has never been more anticipation for one of his own albums. His three albums with sidekick Magoo, in addition to the solo-proper Tim's Bio, each had measurable amounts of hype around their release dates. A new level of visibility, combined with a lot of eclectic star power and a couple silly beefs, has turned Shock Value into a major release. If you haven't read any interviews with Tim from the past few years, or if you missed some of the more telling hints, such as his work on Brandy's Coldplay-sampling &Should I Go,& there could be some shock involved while listening to the album for the first time. Although he has continued to contribute beats for MCs -- Young Jeezy's &3 a.m.,& Snoop Dogg's &Get a Light,& and Redman's &Put It Down& are a few recent examples -- Tim has frequently said that he is bored with rap and into rock, and here he takes the opportunity to reach beyond R&B, rap, and straight-up pop. &Throw It on Me,& with the Hives (a good-time garage rock band from Sweden), is a frisky, careening number that must have taken all of ten minutes to put together. A remix of &Apologize,& a ballad by OneRepublic (a band that might soundtrack the next season of Grey's Anatomy, or the imaginary annex between Abercrombie & Fitch and The Gap), incorporates an unobtrusive Timbaland beat and some distant vocal accents. With She Wants Revenge (a bad-time faux-British synth duo) and Fall Out Boy (you probably know about them), Tim is an interloper who takes part in songs that wouldn't be worse off without his presence. It's most jarring to hear him as a temporary member of the typically sullen She Wants Revenge, where his downcast verses give way to Justin Warfield's heavily affected drone. The four songs involving the rockers are the only ones that have the potential to shock, and they're bundled together during the last quarter of the album, so it's not as if they're even being emphasized. Otherwise, Shock Value is similar in setup to Diddy's certifiably flawed and maliciously (and/or unjustly) panned Press Play, a sprawling but often pleasurable album involving so many MCs, singers, and studio hands that a head count would rival that of the sessions for &We Are the World.& Tim, along with super-talented associates Danja and Keri Hilson, are some of the common links between the two albums, which share a similar balance between rap tracks heavy on mostly empty grandstanding, pop-R&B songs with male-female exchanges, and a couple club-oriented surprises that go outside the norms of modern rap and R&B. So, in a number of ways, Shock Value can be viewed a sister release to the Diddy album. Like Press Play, many of the album's key performances come from the females. Hilson, a songwriter, arranger, and singer who has also had a hand in Mary J. Blige's &Take Me as I Am& and Omarion's &Ice Box,& is central to three of the album's most memorable songs. &Miscommunication& is the greatest of the three, where she delivers one of the most advanced hooks of the last several years. She took pity on a pathetic fellow (played by a temporarily humble-ish Timbaland), was repaid with a stifling relationship that went too far, and comes up with a disarming way of saying &You're killing me.& A completely unnecessary ear-sore of a closing verse from Tim's brother Sebastian does little to harm its effect. &Bounce,& one of Tim's toughest and most sinister beats, is offset by comically over-the-top wordplay from Missy Elliott and Dr. Dre, along with an equally ridiculous appearance from Justin Timberlake (&Like your ass had the hiccups/Like we was riding in my pickup&). Missy outdoes the guys, entering with &Hold up, hell naw/Like Britney Spears, I wear no draws.& The rest of the verse is Missy at her lewd best, nothing new yet still 100 percent capable of keeping the testosterone level in check. Even though it's very possible that the involved recorded their parts in different studios, you can imagine them in fits of laughter while trying to top one another's outrageousness. The track is where the blast had by Tim and company, detectable throughout the majority of the album (a saving grace), is at its most contagious. When the album doesn't sound like a blast is being had, Tim's rhymes are usually within close proximity. They tend to leave a stale aftertaste. As with Jay-Z's Kingdom Come, listening to unrelatable boasts about extreme commercial and financial successes can get tiresome fast, especially when self-satisfaction wipes out any sense of hunger or passion. He brags about making half a million for a beat, and then, a few tracks later, the figure is a quarter of a million. Either he makes too much money to count, or his ghostwriters didn't compare notes. And while he is a competent enough MC to hang with the guest verses -- including low-wattage turns from 50 Cent and Tony Yayo, along with relatively engaging appearances from Attitude, D.O.E., and Magoo -- he's much more effective when restricting himself to incidental goading and singing that merely glides over the beat. Beyond the Elton John feature, the flat-out puzzling moments are limited, yet they certainly add to the album's lack of sturdiness. Bearing a heavy resemblance to Ciara's &Promise,& &Fantasy& was produced by Walter &Lil' Walt& Millsap with Boss Beats and bears no credit to Timbaland. It's also the only song on the album where vocals are provided by one person. &Release,& strangely placed third on the album -- just after lead single &Give It to Me& -- is a tossed-off house track, just as much of a Basement Jaxx rip as Basement Jaxx's own &U Can't Stop Me& (off 1999's Remedy) is a rip of Tim and Missy Elliott's earlier hits together. Shock Value would be less of a hot-and-cold affair with a couple more songs in the vein of &Give It to Me.& A leisurely club track full of swagger, it is immediate enough to connect on the first listen, while Tim also sneaks in enough subtle layers to make it increasingly insidious with each play. This song isn't lacking bizarreness or complications, either. Furtado's words are benign enough, but it's evident that Timberlake is taking an ignorant shot at Prince, while Timbaland (despite claiming that he is not targeting one specific person) is most likely referring to one-man beat factory slash opportunist Scott Storch. These are two of the most pointless beefs in the history of pointless beefs, so the details needn't be recounted. It is worth noting, however, that &Give It to Me& provoked Storch to record a laughably inept response track. Regardless of Shock Value's missteps, Tim's track record says all that is necessary.
| 原始名称 | Shock Value |
|---|---|
| 发行时间 | 2007-04-02 |
| 名称 | shock value |
| 唱片公司 | mosley |
| 收藏数 | 1330 |
| 歌手 | timbaland |
| 类别 | 录音室专辑 |
| 语言 | 其它 |